(本周四)学术讲座:以艺术筑桥

lecture-poster

学术讲座:以艺术筑桥
——国际交流项目中的对话、合作与艺术写作,以中国-瑞典艺术家交流项目“桥梁”为例

主讲人:罗菲(TCG诺地卡画廊策展人,艺术家)
主持人:和丽斌(云南艺术学院美术学院油画系主任)
时间:2014年5月29日(星期四)晚上18:30-20:30
地点:云南艺术学院呈贡校区公共教学楼一楼视听教室
主办:云南艺术学院美术学院研究生支部,TCG诺地卡画廊

作者简介:
罗菲:TCG诺地卡画廊策展人,艺术评论家,艺术家。1982年生于重庆,目前生活和工作于昆明。2004年毕业于云南艺术学院美术学院版画系。2005年发起并策划“江湖”艺术项目,该项目获得较大关注。2007年至今在昆明TCG诺地卡文化中心担任画廊总监,从事策划展览和众多国际跨文化交流项目。罗菲在艺术界致力于发展地方性当代艺术及其叙事,关注当代艺术中的精神性内涵,为中国当代艺术在全球化环境中的协作与对话搭建桥梁。

植物共和国:乌普萨拉文化节上的集体作品

有观众说“桥梁II”是近几年看过的最精彩的展览,艺术家们也都觉得这次合作实在太棒。遗憾孙姐(孙国娟)因为签证问题没能来瑞典,这次六人申请瑞典申根签证,有三人被拒签:丽斌、苏亚碧和孙姐。原因分别为,丽斌没有提供过去3-6个月银行流水记录;苏的单位收入证明与银行记录不一致,加上从法国回国;孙姐是北朝鲜国籍,同样从法国回国。按往年申请,这些原因都不构成被拒签的理由,因为我们都是这样申请过的。从去年开始瑞典签证拒签率越来越高,几年前可完全不是这样,甚至都不用面试。我去年也被拒签过一次,后来申诉又通过了。

经过第一轮申诉,附上使馆需要的材料,丽斌的签证很快通过。在申诉信中,苏和孙提出放弃途径法国探望朋友的想法,直接从瑞典回国,然而她们仍然没能通过,核心理由是,苏的现金收入部分尽管有学校开具的证明,但仍不可信,在欧洲所有收入都是经过银行的,他们认为只有银行记录才可靠的,然而在中国收入现金很普遍。孙姐的依旧是北朝鲜国籍问题,使馆给的拒签理由说,欧盟规定只有在“极端紧急情况下”(Extremely Urgent Issues)才会给北朝鲜人发签证。因此她们俩人的案子被递到了哥德堡移民局裁定,这是一个漫长焦虑的交涉过程。从6月初申请,折腾了整整两个月。最终苏亚碧在临走前惊险拿到,孙姐的石沉大海,只能放弃。(关于孙姐的国籍来源,这篇博文做了介绍)

孙姐在几年前还来过瑞典两次参加艺术项目,前几年也去过英国,这次不能来,实在匪夷所思,博物馆和媒体都觉得很奇怪。不过签证问题从来都是外交阴影的延伸,比如挪威前首相访华被拒签这种事儿。

孙姐因此改变了原初的展览计划,改为展出这次申请签证过程的所有文档,名为“我是一个生活在中国的北朝鲜人”。在部分文档镜框边加上白糖做的影子,这是艺术家常用的材料和语言。还有一盏灯,原计划是好些灯在地上,形成飞行器一样的装置。

瑞典这边博物馆和艺术家都为此感到羞耻,他们决定在乌普萨拉每年一度的文化节上安排一个以艺术的名字做的抗议活动,和中国艺术家一起合作。这也改变了我们做集体作品的最初想法。这个新的架构由瑞典艺术家先拟出来,后来我们一起头脑风暴完成计划。

我们在林奈的植物园里安排一个帐篷,名为“植物共和国”,观众进去之前需要通过相关申请手续,比如回答一些匪夷所思的问题,保证尽快出来不滞留等。我将我的吹纸的作品延伸了一下,要求每个进去的观众吹起那些申请材料的纸,如果吹不起来就不允许入内,因为植物国里空气稀薄,肺活量不够难以生存。植物国帐篷里是一部在放映的伯格曼的电影《芬妮与亚历山大 Fanny och Alexander》,讲瑞典语,中文字幕。这是一部伯格曼最后的电影,就在乌普萨拉拍摄,甚至里面有的场景就在植物园里拍的,给人一种混淆现实与电影世界的错觉,还以为伯格曼也在讲“植物共和国”里的故事。

活动从下午6点一直搞到夜里10点,络绎不绝来了好多人。

上图为申请表要求写下你认为的正确答案。

许多路人前来了解进入“植物共和国”的相关知识,并要求填写相关问题:

申请者们吹起了他们的申请表:

从帐篷出来之后,观众要参与丽斌的另一件作品,为纸袋子里吹气,之后用到他的表演里,这些纸袋子里面装着来自中国的种子,吹气的人在纸袋上写下他们的心愿,最终将被埋葬在布鲁豪斯博物馆的花园里,直到有一天会长出“愿望之花”来。


汉娜在写心愿


装有人们气息的心愿纸带挂在树上


丽斌夜里8点半在布鲁豪斯博物馆后花园开始行为艺术,埋葬装有气息和种子的纸袋在他自己影子形状的地里。

孙国娟:我的朝鲜国籍的由来和我一直守护着它的理由

按:艺术家孙国娟这次因为国籍问题没能获得瑞典申根签证,前往瑞典参加“桥梁II:中国瑞典艺术家交流项目”,所有人都为此感到十分惊讶和遗憾。这个事情也因此成为这次展览非常重要的一个政治性的关注点和讨论空间。这样一个致力于东西方彼此了解、信任和欣赏的“建桥”项目,困难重重自然是不可避免的,但在签证问题上为此设置障碍的却是宣称自由民主的瑞典,这让瑞典人也感到脸红和羞耻。最终孙国娟放弃了原先的展出计划,变为展出申请签证过程中的所有文档。

经孙国娟本人授权,我在博客上发布其中一份材料,这是她在申诉过程中写的一篇自述,读后让人心生叹息,个人和家庭在历史与政治面前如此卑微无力,但更让人感动的是艺术家对于持守自己身份的勇气。孙国娟说,幸好我们还有艺术。

sunguojuan

原文:

《我的朝鲜国籍的由来和我一直守护着它的理由》

文/孙国娟

我的父亲孙基宗(英文名:C.C.SUN)1911年出生在朝鲜黄海道,1920年随我的参加朝鲜独立运动的祖父孙斗焕从朝鲜来到中国的上海(韩国临时政府),他在上海读小学中学直至接受高等教育,他曾在1931年至1938年任中华民国国民政府总统蒋介石专机的副驾驶和机械师,然后娶了我的中国母亲陈功正,父亲从九岁开始直到去世都生活在他所热爱的中国,但是父亲也一直思念自己的故乡,他把对自己故乡的思念延续到我们身上的时候就是让我们也拥有代表着他故乡的朝鲜的国籍(在我们加入朝鲜国籍的上世纪70年代,韩国还没有与中国建立外交关系),他希望我们不会忘记我们的故乡在什么地方,就这样我们五兄妹在成年后都加入了朝鲜国籍。我知道朝鲜在国际上的名声,我保留我的国籍的理由仅仅是因为我热爱我的父亲,虽然我至今都没有机会去过他出生的地方,但我还是把我的国籍看成是我的父亲给我的礼物,虽然这个礼物给我带来了很多的麻烦,但我仍然不想放弃这个礼物。

中国是我出生和成长的地方,我热爱她,但我也热爱自己的父亲,虽然他已经去世多年可我还是一直非常的想念他,常常有朋友劝我放弃我的朝鲜国籍加入我母亲的中国籍以获得更多的自由,朋友们因为爱我所以劝我,而我因深爱自己的父亲所以不能做到,那怕父亲已经在九泉之下。

今天当我为了我的艺术工作而写下这段文字的时候,我百感交集的只能独自流泪。

孙国娟
2012-6-18

The Origin of my North Korean Nationality, and the Reason I have kept it

My father, Sun Jizong, (English name C. C. Sun) was born in Hwanghae province of North Korea in 1911. In 1920 he arrived with my grandfather in Shanghai, China (the provisional government of South Korea) when my grandfather was participating in the North Korean independence movement. My father studied in China from elementary school through higher education. From 1931 until 1938 he worked under Chiang Kai-shek, president of the Nationalist Government, as chauffer and mechanic. He then married my mother, a Chinese citizen, named Chen Gongzheng.

My father, from the time he was nine years old until his death, loved China, but he also always remembered his homeland. His thoughts of his homeland continued until we were born, and he wanted us to have the nationality of his homeland, North Korea (when we got North Korean citizenship in the 1970s, South Korea still had not opened diplomatic relations with the PRC). He wanted us to never forget where our homeland was, and so my four siblings and I all entered North Korean citizenship upon becoming adults. I know the reputation North Korea has internationally. The only reason I retain my North Korean citizenship is because I love my father. Although I’ve never, until now, had a chance to return to my father’s place of birth, I still see my nationality as a gift from my father. Even though this gift has given me great trouble, I still don’t want to abandon it.

China is where I was born and grew up. I love her, but I also love my father. Although he has already passed away many years ago, I still miss him very much. My friends often urge me to abandon my North Korean citizenship and take up the Chinese citizenship of my mother so that I can have more freedom. My friends urge me because they love me, but I cannot do it because I love my father, although he is in the nether world.

Today as I write these words for my art, I am overwhelmed by a flood of emotions, and can only weep.

SON KUK GYON
2012-6-18

sunguojuan2

“桥梁II”在乌普萨拉

瑞典中部已经开始有入秋的意思,森林的绿色不像南部那么润,稍显从盛夏走过来的疲惫。乌普萨拉这座古老的大学城开始活跃起来,游客离去,学生返校,学生、教授、表演团、艺术家,一路匆匆疾走。

下火车后拎着行李直接被送到乌普萨拉博物馆和布鲁豪斯博物馆(Bror Hjorths Hus),分别看场地,与馆长会面,谈空间布局。拿到一张两周密集的日程表,布展、聚餐、开幕式、工作坊、座谈会、出行……

住在老城区的公寓酒店里,全新的房间,开张一个月,楼下可以望见不远处雄伟的乌普萨拉哥特式大教堂的两个耸入天空的尖顶和十架。这里曾是斯堪地纳维亚半岛的宗教中心,同时是瑞典保守主义和自由主义派别的中心。行走在街头,不难感受到充满活力和节奏的氛围。

从公寓到博物馆,快步行走也要半小时,两间博物馆相距约十五分钟的步行距离。由于展览在两边博物馆同时举行,布置、会面、吃饭,一天来回两边要走好几趟,然后再走半小时回公寓。大伙儿的脚腿子明显结实多了。还好,这里空气总是清新,一路穿过古城、森林、墓地、林奈的植物园、城堡和大学城,倒也享受。

连续早出晚归工作,中午带着早晨备好的便当在博物馆里用餐。跟着几位贤妻良母出行真是莫大的幸福,吃的从不操心,还负责缝补衣服。一群各种气候、性情和运行轨迹的艺术家在一起工作和生活,形成了一幅独特的图画,堪称完美。

开幕前两天开始下起雨来,没有停的意思,尽管如此,开幕式上还是来了好多人,尤其是好多在瑞典的朋友驱车或搭火车几个小时前来捧场。印象中,瑞典展览很少有人山人海的效果,这回实在稀罕,实在感激。

相关链接:我写的展览前言《以艺术筑桥》Using Art to Build Bridges

以下是有关展览的部分照片:


乌普萨拉博物馆在一座古老的城堡里,当代艺术馆在四楼,“桥梁II”展场之一。2005年的时候,诺地卡举办的“航海日志”也曾在此举办。


博物馆对面是城堡的后花园,后来被一条马路隔开,成了林奈的植物园。


布鲁豪斯博物馆(Bror Hjorths Hus)是乌普拉萨雕塑家Bror Hjorths的工作室,后来去世,留下做博物馆。


城里的路牌、路灯下可见展览的海报


贤妻良母们在给丽斌准备表演的服装


丽斌在开幕式上的行为表演“影子II”


丽斌的空气瓶子


程良春的画作


孙国娟因为签证问题,没能到场按原计划实施作品,最后将整个签证申请、申诉、抗议过程和原方案等的文件展示出来,仍保留有“糖”的影子。


Johan Fremling的作品,仿佛巨石阵,拍着长龙的队伍,窃窃私语


展览现场,左侧为Johan Fremling的素描,左侧雕塑为Kasja作品。


雷燕在乌普萨拉博物馆的作品,迷失的鸟


迷失的鸟(局部)


迷失的鸟(局部)


雷燕在布鲁豪斯博物馆的另一组布雕作品


雷燕在布鲁豪斯博物馆的另一组布雕作品,(教堂,局部)


苏亚碧的作品,心情


苏亚碧的作品,心情,局部


Sanne Sihm的作品(左),程良春的作品(右)


Sanne Sihm的作品


集体作品,重做了我们在昆明完成的作品。


郭鹏作品“桥”,拍摄了南京长江大桥上的雕塑和局部


我的录像作品,让我们吹起这纸


Kajsa的作品,人不在他鞋子所在之处,而是在他梦想所在之处。(局部)


TCG诺地卡创办人之一孟安娜在开幕式上发言,介绍诺地卡


我和Kajsa Haglund代表中瑞双方艺术家发言


在乌普萨拉博物馆的开幕式上,馆长伊丽莎白发言


布鲁豪斯博物馆馆长托马斯抱着女儿看和丽斌的空气瓶子,里面有她女儿的气


艺术家合影

Using Art to Build Bridges

Chaos and Order

Installation “Chaos and Order”, made by Chinese and Swedish artists

Using Art to Build Bridges

Every time I travel to Sweden, I arrive in Copenhagen, then in Malmo, and cross the bridge over the grand Öresund channel. On my way I enjoy the fresh taste of the ocean breeze. It’s said that one hundred years ago, a young Swedish girl wrote an imaginary plan on a piece of paper, sealed it in a bottle, and cast it into the sea. Later, a young man from Denmark picked up the bottle, and looking at the paper sketched the form of a bridge… this became the Öresund Bridge which I have crossed many times. From dream to reality, the bridge connecting Denmark and Sweden took 100 years to complete. Where is the bridge connecting China and Sweden, and how long will it take?

Nanjing Yangtze River Bridge

Nanjing Yangtze River Bridge

China is rich in mountains, rivers and lakes, and naturally has a long history of bridges. The symbol of the bridge also occupies an important position in contemporary history. After the founding of the country, the first bridge designed by China as an independent nation was the Nanjing Yangtze River Bridge, and it became a symbolic piece of architecture for the entire country (1960). Its grand blueprint was printed on the 1962 edition of the two cent Yuan bill. Not long after in the 1980s, a film titled Most (Savage Bridge) was popular among all Chinese people. The film’s subject matter is the resistance of Fascism in Yugoslavia, and it’s widely loved theme song, “Bella Ciao,” remains a household name even today. Bridges are architectural accomplishments and the background for historical stories, and they have left deep impressions in many countries.

In architecture, bridges are comparable to skyscrapers; the former representing the ability of humans to step across states of separation, the later representing the ability of humans to live at great heights above level ground. In the ancient story of the tower of Babel, the human language became chaotic. Unable to communicate, all things fell apart. The loss of a common language represents the differences and conflicts between cultures. Perhaps for this reason, building bridges became an attempt for people to overcome obstacles and break down distance. To connect with one another once more, understand and cooperate with one another again, this project has continued until today. Today, however, the material and method is no longer limited to the architectural study of reinforced concrete, wood, and stone, but also includes communication, the internet, sports, and art. The desire among humans for mutual understanding has never stopped.

Put simply, art is a cultural experiment that can transcend daily language. It can help us open new possibilities for communication with people of different national, linguistic, and cultural backgrounds. The airline industry and the internet have greatly promoted contemporary bridges. Artists and audiences can easily travel across borders (although visas are ever more difficult to obtain) and art can easily be disseminated (although censorship organs remain). Art can be a bridge not only to provide opportunities for discussion but also to begin a process of self-understanding. After going abroad, an artist introduces the existential struggles and aesthetics of their own region to an audience of a different cultural background. In one way, art is a visual form that can transcend language barriers. In visual works, people can see the universal interest and power of art. In another way, contemporary art possesses a sharp insight, even criticism, into the situation of reality. Some works can make audiences view not only art but also issues in society with interest and care. Some of these problems can be local and regional, others universal. It’s like the words that Kajsa Haglund quoted during the bridges project exhibition in Kunming, “Art is a guerilla movement that should belong to the ministry of defense. Is the minister of war informed?” I appreciate these words, because by addressing contemporary issues, art’s constantly transforming methods have a resistant and ineradicable purpose. This is the reason people will always need art. Using art to build bridges is also a kind of guerilla warfare.

The Bridges Project brought together Chinese and Swedish artists for a joint exhibition at TCG Nordica Cultural Center in 2010 and now, two years later, for this second exhibition. I am reminded of the words of Swedish poet Tomas Tranströmer in his poem titled “Gallery.” In this poem there is a scene where every artist is compared to a star. Each has its own atmosphere, temperament, movement, and orbit. Some are made of fire, and some of ice… Bringing together artists from different cultural backgrounds, life experiences, work methods, and dispositions to work together, cooperate, and exchange is like bringing 11 stars (artists) from the universe to a certain time and a certain formation. From Chaos to Order, this really is a cooperative work!

Finally I would like to warmly thank the Swedish artists for their ceaseless efforts to build a bridge of art between China and Sweden. Thanks to Uppsala Museum and Bror Hjorths Museum for preparing everything and making it possible for this bridge of art to meet with everyone in Sweden. TCG Nordica Cultural Center in China is also always striving to build bridges of art and culture between China and Northern Europe, between West and East.
Building bridges with art becomes a fusion that is both experimental and alternative. Best wishes for the completion of the second exhibition of the Bridges project!

Luo Fei (TCG Nordica Gallery Director, Artist)
July 26th, 2012, Kunming
Translated by R. Orion Martin

* 中文原文

Chaos to Order

“Chaos to Order”, detail